I read 'Sunshine and Shadow' by Phylis Haders, (1976), which was easy to read and a good basic introduction to Amish quilts.
Some of the notes I made are:
Hader states:
'Amish quilts are now recognized as being unique. Those made prior to 1940 were conceived through the upmost simplification of design elements, simplified to the point of abstraction. Materials were chosen from fabrics and colors acceptable within a community which religiously shunned the outside world. From this narrow disciplined background emerged a distinct and rare color sense.' p.7
PH explains that the designs (she says stars and diamonds) are almost always surrounded by a square, a fence. She describes this as a frame to put the shapes within an ordered system. It reminds me of Stuart Walker's method of using white squares to put his reclaimed and modified objects in to give them a context.
'This activity [quilting] has afforded women creative and social outlets denied in other areas of domestic life. Why was it allowed? Probably because the quilt has been viewed as a utilitarian object. The making of quilts is a natural extension of other matronly duties performed by a wife and daughters such as the making of clothing.' p.17
'Why are such bright colours chosen for use in quilts? Without indulging in pop psychology, it seems reasonable to suggest that quiltmaking itself is an escape from the monotony of rural life, the humdrum tasks of raising a large family.' p.18
'Many quilts are now being made to sell. The outward form remains, but the inner spirit is changing, and few will ask why.' p.24
Is this always a problem? Is it common in other communities where traditional crafts start to be collected because they are beautiful and then they get made to sell and become less beautiful? What changes? Is it the care? Should you always make something as though it's for your family? Design a dress to hand down to your grand daughter?
When trying to decipher the meaning of a quilting design, Haders states:
‘Everything treated by the Amish has more than a mundane meaning, but little is made explicit.’ p.70
So, here is a list of what I think makes Amish quilts eternally desirable:
Unique
Authentic
Personal/individual
Handmade
Skilful
Time intensive
Colour sense
Spiritual
Considered
Joyful
Evocative
Functional
Non-explicit
Non-fashion
It seems the actual making of the quilt was also enjoyable - it was personal, creative and also social, meeting the higher level needs in Maslow's hierarchy of needs. This is something I should consider carefully. As is the fact the physical qualities of the quilt are not necessarily what I need to embed in my work - it's the meaning is more important, although it does need to be conveyed visually.
- links to emotionally durable design book a bit – layers of meaning and mystery plus spiritual – more than just utility (even though that’s what’s it’s classed as – reason for making.) Is it only spiritual to ‘outsiders’? Haders relates how the Amish ladies she met very often didn't understand why she was more interested in the old quilts than any quilts they were currently working on. Haders' objection seems to be that these new quilts were made from kits and therefore not unique, any attempt to copy an old quilt would not be authentic. Also the new colours aren't as vivid and the materials have changed from natural to synthetic. So, Haders' love of Amish quilts seems to stem from the individuality of the maker. Later she makes a distinction between 'expertly' worked stitches (new) and 'finely' worked stitches (old) p.21, maybe perfect and professional isn't enough, maybe consideration and love is needed?
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